Musical instrument



(No. Model.) 4 Sheets-Sheet 1.

S. TANAKA.

MUSICAL INSTRUMENT.

No. 443,305. Patented Dec. 23-, 1890.

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4 Sheets Sheet 2.

(No Model.)

. S. TANAKA. MUSICAL INSTRUMENT.

No. 443,305. Patented Dec. 23, 1890.

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(No Model.) 4 Sheets-Sheet 3.

S. TANAKA. MUSICAL INSTRUMENT.

No. 443,305. Patented Dec. 23, 1890.

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(No Model.) 4 Sheets-Sheet 4.

S TANAKA MUSICAL INSTRUMENT.

Patented Dec. 23, 1890.

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SIIOIIE TANAKA, OF BERLIN, GERMANY.

MUSICAL INSTRUMENT.

SPECIFICATION forming part of Letters Patent No. 443,305, dated December 23, 1890.

Application filed April 16, 1890. Serial No. 348,194:- (No model.)

To all whom it may concern:

Be it known that I, SHOHE TANAKA, a subj ect of the Emperor of Japan, and a resident" of the city of Berlin, Prussia, Germany, have invented certain new and useful Improvements in Enharmonical Key Musical Instruments, of which the following is a specification.

The musical instruments having keyb0ardssuch as the piano, organ, harmonium, &c.-are all tuned in the so-called temperated tuning, in contradistinction to harmonic or absolutely pure musical tuning. Each octave of these instruments is divided into twelve equal tonal divisions, to each of which a key corresponds. For scientific purposes instruments have been built which are tuned in absolute harmony. In such instruments a separate and independent tone-producing device is provided for each tone or sound, and also a separate key for each toneproducing device. For practical purposes such instruments cannot be used, as it is practically impossible to play on them on account of the extraordinary difficulties presented by the great number of keys.

The object of my invention is to provide a new and improved key-instrument by means of which musical pieces can be played in absolute tone in all the various scales without requiring extraordinary variations from the ordinary technique of playing key-instruments. This new style of instruments, which I have illustrated in a harmonium, has a separate tone-producing mechanism for each of the numerous tones within the limits of each octave. Within the limits of each octave, however, a less number of keys is provided than usual on such absolutely true harmonic instruments, and their connection with the tone-producing devices is made adjustable. For each specific scale the instrument is adjusted so that the tone-producing device necessary for producing the harmonic sounds belonging to the scale can be produced by operating the keys. This is accomplished in the first place by using the ordinary mechanism forshifting the key-board in relation to the tone-producing devices laterally the distance of an entire octave.

It is well known that in absolute tone harmony the fourth fifth for O (C- G 13- A- E)that is, E reduced to the space of one 00- taveis not precisely equal to the harmonic third of the 0 tone. The fifth is slightly higher than the third. It is customary to distinguish such tonal differences by the word comma,and to designate this difference by a horizontal line or dash above or below the letter designating tone, accordingly as the slight difference in the tone is above or below the tone designated by the letter. tones that can be produced in the fifth in all octaves from the ground C are represented by plain letters, then E will be the fourth If all the fifth from G, and E will be a pure major 7 third from O. In the temperated scale only one tone is provided for E and E, which in reality is not absolutely correct for either of the tones, but lies between them.

In an instrument tuned in absolute true harmony both tones E, as well as E, must be capable of being produced. The same. holds good for the relations of all other tones to each other. For instance, 2 as fifth from Eis the major third from G, and 13 as the fourth from E is the major third from F, and so on. It the comma elevations and reductions of the tones are carried to a certain degree, all the several tones can be divided into four groups. The first. group contains the tones designated by the letters only and is known as the fifths group. The group of tones of the comma reductions, which among themselves are fifths, (A-

E B- F sharp- C sharp,) are known as the first upper major thirds group, or, in short, the first thirds group, and is the second group of the above-mentioned division. The absolute true diatonic C-major scale would then according to its musical composition have to be written F- A- G, C-

E G, G- B D, or diatonically arranged C- D- E, F- G- A- B.

Th e minor ga for A must'be written in the following manner: A- B- O D- E F- G sharp and for E 521.16? E- F sharp- G sharp A- B;- C sharp; D sharp. In this case C sharp G sharp- D sharp are thirds from A- E- B, and are two commas lower 1han the corresponding tones of the original fifths series and one comma lower than the corresponding tones of the first thirds series. The tones having the two comma reductions are known as the second thirds series and constitute the third group of the above-mentioned division. group are those tones that have been raised a comma and developed from the major sharp, flat it sharp, and several others? In theaccompanying drawings, Figure 1 is a vertical transverse sectional view of part of the mechanism of my enharmonic harmoniu'm. Fig. 1 is a detail plan view of the wing. Fig. 2 is a face view of the scale, indicating the position of the keyboard and an upper view of the rack upon the scale. Fig. 3 is an enlarged detail longitudinal vertical sectional view through the keys and the sup port for the same, the mechanism for raising the keys beforesh-ii'ting them being shown in elevation. Fig. Jr is an enlarged detail view of the indicatingscale for the keyboard and the button for shifting the key-board and the pointer on said button. Fig. 5 is a detail plan view of one octave of the keyboard of my improved enharmonic harmonium. Fig. 6 is a plan view of the several valve-levers for the reed-boxes.

Similar letters of. reference indicate corre sponding parts.

In my improved harmoninm, which I term an enharmonic harmonium, the four rows of reeds and reed-boxes do not correspond to four registers, as in the harmoniums constructed heretofore, but, so to say, represent the tones of a single register subdivided according to the above description into four groups. I thus have so many tone producing devices that within each octave fiftyfive tone-producing devices can be used, thirteen tones belonging to the first group and fourteen to each of the other three groups. According to the old arrangement of instrumen ts a corresponding number of keys would have to be arranged in each octave; but with my improved construction only twenty keys are required for an octave, which are so arranged as to resemble as much as possible the usual twelve white and black keys, as shown, for example, in Fig. 5. The connection between the smaller number of keys and the more than double as large a number of tone-producing devices is accomplished by The fourth the arrangement of the levers for operating the tone-producing devices, which levers are not divided into four groups, but into three, as illustrated in Fig. 1. The reed-boxes of the minor thirds group and the corresponding reed-boxes of the second thirds group together only have a single valve and a corresponding single valve-lever B for each two adjacent boxes. Upon the levers B and the Valve-levers B and B vertically-guided pushers A A A rest, as shown in Fig. 1. Corresponding to these pushers the heads 0 O G are arranged to project from the bottoms of the keys Y, which heads rest on the upper ends of some of the pushers. As in the ordinary harmonium, the keys are kept in the raised position by the action of the springs on the valve-levers, so that when a key is depressed the corresponding valve-lever is operated and the corresponding valve opened. As shown in Fig. 5, the white keys of an octave on the keyboard have the usual shape, whereas the black or upper keys are divided into two and even three key-seetions. Beginning with the C-key, the white keys represent the diatonic tones of the main major scale in all the positions of the keyboard. As has been stated, and as will be described farther on, the key-board can be shifted laterally, so thatthe O-key can be successively or at will adjusted so that it corresponds to the tone of the scale, and such adjustment is followed by all the other keys.

In Fig. 5 the circles represented by numbers represent the heads 0 (3 C projecting from the bottom of the keys. The arrangement and location of said heads is such that, for example, the keys G, D, F, and G, as representatives of the fifths tones, will always rest on those pushers which belong to the valves with corresponding ton es. They mustbe pushers of the first row.

The keys E, and 1i must have thcirheads so arranged as to rest on pushers of the thirds tones which are in the second row. This necessitates that the resting-points of certain keys must pass under the adjacent keys. The group of pushers for a key, Fig. 5, will thus not in all cases be confined directly below these keys. Dotted lines are drawn from the keys to corresponding heads, Fig. 5, and to make matters more explicit the heads on the white keys are illustrated by double circles in Fig. The distance of each head from its adjacent'head to the right and left in the direction of the width of the keys and correspondin g to the chromatic tones is equal to a twelfth partof the distance from the center of the C-key to the center of the B-key at the other end of the octave.

In the chromatic scale the first white key C has its head in the first row of heads and the head is marked No. 1. The head of the second white key D is marked No. 5 and is also in the first row, and so on. The remaining chromatic tones are distributed among the different rows of heads of the upper keys.

- modulations governed and controlled by the white keys, which represent the main major scales. When the key-board is adjusted for C-scale, the keys are arranged in relation to the pushers, as represented in Fig. 6 by black dots. The relation between the heads of the upper keys and the tones produced by same can easily be derived by comparing Figs. 5 and 6. Between the E and F key a special upper or black key is arranged for producing the tones sharp or F, and acts on a head of the third row. In view of the peculiar arrangement of the heads and the possibility of shifting the key-board the ends of the valve le- Vers of the first two pusher-rods must be arranged to interlock, as shown in Fig. 6, and most of the levers must be provided with more than one pusher. The two or three pushers on one valve-lever must correspond to different tonal groups, and within the limits of one octave there are twenty-four pushers in each row of pushers. The distances from one pusher to the next are precisely equal throughoutand half as great as the corresponding distance of the heads below the keys from each other. It thus follows that in the direction of the width of the keys that only the alternate pushers will receive and support a head. The pushers are to be imagined in two groups of twelve in each octave and belonging together in relation to their chromatic position. To one group the alternate pushers of two rows belong, so that beginning at a tone we will have a right-hand and a left-hand pusher group, and thus the first, third, fifth, &c., pushers belong to the left-hand group and the second, fourth, and sixth, &c., to the right-hand group.

Vhen the key-board is adjusted for playing in all sharp scales-that is, when adjusted for G, D, A, E, B, and F sharp-the right-hand group of pushers is acted upon by the heads. Theleft-hand group of pushers is used for playing in all C scales, and when the key-board is adjusted for F, B, E fiat, A hat, and D fiat. In Fig. 6 the black dots represent the position of the heads for C scales and the crossed circles represent the positions of the heads when the key-board is adjusted for F-sharp scales.

The above-described division of the push ers into groups has the advantage that for certain scales certain special tones are required for playing in absolutely true harmony.

In this respect the arrangement of a number of valve-levers in relation to the firs two rows of pushers is of importance. The arrangement of the pushers on the valve-levers and the arrangement of the heads is so regular for all the twelve positions of each octave of the key-board that the heads always meet those pushers that are required for producing the correct tone.

For the purpose of playinggon this instrument the music is written in the usual style, but always reduced to the O-major or the A- minor scales, and can thus be played on the white keys in corresponding scales. For modulations the black keys are used, and their use is indicated on written or printed music by special marks. The correct intonationthat is, the correct key in which the piece is to be played-is obtained by means of transposing devices for shifting the key-board, and for this purpose the following mechanical device is used. The key-board rests in a special case G, having rollers, and which can easily be shifted on the cover of the casing for containing the valves and wind-chest. In the fixed front plate H, arranged directly behind the keys, a horizontal slot H is provided at or near the middle of the key-board, and through the same a rod L projects, which is provided at its outer end with a head K. The rod L is connected with the sliding case for the several keys, so that by grasping said button K the entire key-board can be shifted to the right or left. Before this can be done, however, it must be disengaged from its locking device, and, furthermore, it must be lifted slightly, so as to disengage the heads 0 O C from the pushers A A &c., as otherwise the upper ends of the pushers might be seriously damaged. The latch-lever I is provided at its upper end with a tooth that can engage the teeth of a rack O on the rear side of the fixed front plate H. Said latch I is pivoted at its lower forked end with rollers E and with pins M, which enter a circumferentially-grooved collar on the rod L. If the button K is pulled outward parallel with the length of a key, the lower end of the latch-lever I is moved in the same direction and the tooth on the upper end is disengaged from the rack 0. Below all the keys a plate P runs, which is connected by hinges R with the frame or case G. This plate is supported by means of two hangers Q from levers T, pivoted at S on the frame or case G, the adjacent free ends of said levers resting against the rollers E on the lower end of the latch-lever I. Springs U serve for pressing the free ends of saidlevers I against the said rollers E. By pulling out the rod L the rollers E force down the free ends of the levers T, whereby the opposite ends raise the plate P and the keys thereon. Then in this raised position, the key-board can be shifted transversely to the length of the keys, and after having been shifted the rod L is pushed inward, whereby the keys are lowered and the toothed end of the latch I engaged with the teeth of the rack 0, thus locking the keyboard in place. The notches or teeth in the rack O are not all the same distance from each other, as, shown in Figs. 2 and 3, and this corresponds to the right and left hand adj ustment of the key-board for the right and left hand groups of pushers, as previously explained. On the front side of the wall H a plate H is provided,which carries a series of indicating-marks I-I each corresponding to one of the teeth in the rack, each of which is provided wit-h an inscription or letter designating the scale for which the key-board is set when the pointer 11 on the knob K is at a certain mark. The above-mentioned combination of the third and fourth groups of valves and the interchangeable use of the same is obtained by the following device.

As shown in Fig. 1, the valve-lever B has a single valve, which closes two openings of two adjacent valve-chambers-namely, one of the second thirds and one of the minor thirds group. Said two valve-chambers form pairs and must be opened at the same time. The sounds of both boxes must not be produced at the same time; but, on the coutrary, it is necessary to produce the en'harmonic change, so that the reed of one or the other of the boxes only is sounded. Below the said two rows of reed-boxes the windchest X is divided into two compartments by partitions W, and in the chamber of each COJII- partment an aperture is provided, which two apertures are closed by spring-valves W and W A rod S passes through the wings of said valves and is suitably guided. By its spring T it is pressed in the direction of the arrow m so as to press a crossspiece or button S on the rod S against the wing of the valve \V and to keep said valve open automatically. Adjacent to the wing of the valve V a projection S is formed on the rod S, which projection when the rod is pressed in the inverse direction of the arrow 00 acts on the wing of the valve V and opens said valve. The rod S can be pressed in the inverse direction of the arrow 00 by a pivoted kneepiece X, pivoted on the front of the casing of the instrument. Thus by manipulating the piece X the rod S is pressed in the inverse direction of the arrow the valve W is opened, and the valve V is released, so that it can be closed by its spring; and, vice versa, when the pressure 011 the wing 00 is removed the spring T presses the rod S in the direction of the arrow m whereby the valve \V is opened and the spring of the valve is permitted to close said valve.

In instruments differing from harmoniums the heads and pushers can be used in a manner analogous to the one described, the heads serving for operating the pushers and the pushers serving to operate the tone-producing device. By means of the seven white or lower and the thirteen black or upper keys (shown in Fig. 3) the following chords of three notes can be played in absolutely true musical tune or harmony when the key-board is adjusted for the 0 scale:

1 5112111). E? sharp, Esharp, 5 sharp, X sharp.

ferent from the 0 scale, then chords of three notes can be played that have the same relation to the ground tone of the scale that the tones have for the ground tone when the keyboard is adjusted for the above-described chords for the 0 tone.

Having thus described my invention, I claim as new and desire to secure by Letters Patent 1. A musical keydnstrument constructed with a series of pushers connected with the tone-producing devices, and a shifting keyboard the keys of which can each act upon a series of pushers according to the adjust ment of the keyboard, substantially as set forth.

2. A musical key-instrument constructed with a shifting key-board, heads under the keys, and a series of pushers adapted to act upon said heads according to the adjustment of the key-board, substantially as set forth.

A musical key-instrument constructed with a shiftiugkey-board and having its toneproducing devices divided into groups, and with-pushers for the tone-producin g devices at each group, on which pushers the keys can act according to the adjustment of the keyboard, substantially as set forth.

4. A musical key-instrument having ashif'ting key-board, a series of tone-producing devices divided into groups,a set of pushers for each group of tone-producing devices, which pushers are divided into twosections, one section being used for producing tones in certain scales and the other section for prodncing tones in different scales, substantially as set forth.

5. In a musical key-instrument, the combination, with ainovable frame, of a key-board supported in the same, a latch for locking the key-board in place, mechanism for raising the keys, a pull-rod operating the latch and keyraisingdevice, and apointer on said pull-rod, substantially as set forth.

6. In a musical key-instrument, the co1nbination, with a movable frame supporting the key-board, of aseries of tone-producingdevices divided into groups, pushers connected wit-h said tone-producing devices, on which pushers the keys can act, a latch for lock ing the key-board in place, a rod for operating said latch and shifting the key-board, a pointer on said rod, and a scale fixed above the pointer and indicating for which group of tone-producing devices the key-board is adjusted, substantially as set forth.

7. In a musical key-instrument, the combination, with a movable frame supportinga key-board, of a sliding rod, a latch for locking the key-board in place and actuated by said sliding rod, rollers on the lower end of said latch, levers on which the rollers act, and a bar supported at its end by the outer ends of said levers, which bar serves to support the keys, substantially as set forth.

. 8. In a musical key-instrument having four groups of tone-producing devices, of which tone-producing devices allin two of the groups have a separate lever, the tone-producing devices of the other two groups being divided in two pairs and each pair having a single lever, pushers connected with the lever, and keys adapted to operate the pushers, substantially as set forth.

9. A musical key-instrument having four groups of tone-producing devices, each toneproducing device of the groups having aseparate lever, the tone-producing devices of the other two groups; being divided into pairs and each pair having a lever, each tone-producing device 01": the last two groups having a controlling mechanism independent of the keys, substantially as set forth.

10. In a harmoniuin, the combination, with keeping one of said additional valves closed and the other open, substantially as set forth.

In testimony that I claim the foregoing as my invention I have signed my name in presence of two subscribing witnesses.

. 'snornt TANAKA.

Witnesses:

JULIUS STUOKENBERG, ULRICH R. MAERZ. 

